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Tugboat on the Seine, Chatou by Maurice de Vlaminck

https://www.nga.gov/artworks/106379-tugboat-seine-chatou

Vlaminck is often portrayed as the most unruly painter of the fauve school, an impression that reflects both on his personality (as it is revealed in his biography and writings) and his work. A self-taught artist, Vlaminck insisted that painting should be the unmediated expression of an artist’s temperament, „emotive, tender, ferocious, as natural as life itself.“ [1] Indeed, having been an anarchist sympathizer during the prewar period, he would later link the strident colorism and bold brushwork of his work to social and political dissent, a connection that was actually made by several art critics.
catalogue, repro. 1976 Modern Masters: Manet to Matisse, Art Gallery of New South Wales

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Basket of Fruits by Balthasar van der Ast

https://www.nga.gov/artworks/76207-basket-fruits

An inventory of 1632 confirms the presence of this rare set of pendant paintings by the still-life master Balthasar van der Ast in the collection of Princess Amalia van Solms, wife of Frederik Hendrik, Prince of Orange. The two works complement each other and reinforce the message that one should be grateful for the abundance and beauty of God’s creation.
Nabio Museum of Art, Osaka; Tokyo Station Gallery, Tokyo; Art Gallery of New South Wales

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Pianist and Checker Players by Henri Matisse

https://www.nga.gov/artworks/66423-pianist-and-checker-players

Through the 1920s, Matisse stayed in Nice from late fall to early spring of each year, while his wife and family remained in Issy-les-Moulineaux outside Paris. Pianist and Checker Players is set in Matisse’s Nice apartment and shows the artist’s favorite model, Henriette Darricarère, and her two brothers.
. 59, repro. 1975 Modern Masters: Manet to Matisse, Art Gallery of New South Wales

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The Dancer by Auguste Renoir

https://www.nga.gov/artworks/1211-dancer

The Dancer was one of seven works that Renoir included in the first exhibition of the Société anonyme coopérative des artistes, peintres, sculpteurs, graveurs, etc., which opened in April 1874. In contrast to works by most of the other artists in the group—soon to be dubbed the impressionists—Renoir’s paintings were relatively well received.
mid-1870s and whose likeness was featured in La Parisienne (National Museum of Wales

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